ARTIST: Daniel Adolphe Robert Jones (Belgium, 1806 - 1874)
NAME: Sheep and Bull
MEDIUM: oil on canvas
CONDITION: Two patches. Some craquelure. Some scattered inpaintings.
SIGHT SIZE: 13 x 18 inches / 33 x 45 cm
FRAME SIZE: unframed
SIGNATURE: lower right
CATEGORY: antique vintage painting
AD: ART CONSIGNMENTS WANTED. CONTACT US
SKU#: 118975
US Shipping $49 + insurance.

BIOGRAPHY:
Daniel-Adolphe Robert-Jones was a Belgian Romantic painter who specialized in animal scenes.He was the son of a well-known coachbuilder from Rue Neuve in Brussels, and of Marie Deacon. He had two more brothers, among others Henri-Francois, who was the great-great-grandfather of Philippe Roberts-Jones, chief curator of the Royal Museums of Fine Arts of Belgium. Roberts-Jones married the Dutch Henriette Levysohn. He lived successively at 23 Antwerpenlaan in Brussels, at Paleisstraat in Schaerbeek/Brussels and at 68 rue de l'Association.Father Roberts-Jones, of English descent, was surprised by the Continental Blockade while traveling on the European mainland. He settled in Brussels, where he set up a body shop.Daniel-Adolphe Roberts-Jones initially performed decorative painting on the carriages of the famous parent company; for example, he provided the vehicles with the coats of arms of the owners. His brother Henri would continue the carriage business.Around 1834 Roberts-Jones was an apprentice in the studio of Eugene Verboeckhoven, the already famous animal painter who had recently come to live in Brussels after having already achieved great success in Ghent. Like his teacher, Roberts-Jones would specialize in artistic animal painting.The Roberts-Jones biography is poor in outward facts. Only his travels to Holland, England and Scotland, which inspired him to certain works, are worth mentioning.As an artist, he closely followed the style of his famous teacher, without, however, equaling its truly exceptional qualities. He may have also provided the fabricage (less important fragments) in Verboeckhoven's works, who after all had an astonishingly large production.Roberts-Jones himself made his debut during the Triennial Salon in Antwerp in 1837 with a “Landscape with leasehold and cattle”. Roberts-Jones was a very regular participant in the Triennial Salons in Brussels, Ghent and Antwerp. His entries were without exception expressions of his romantic view of the animal world: shepherdesses with sheep, goats and cows, meadow landscapes with cattle, a dog with young, scenes with sheep and donkeys, etc. His entry to the Antwerp Salon in 1858 was a scene with sheep and dogs near Dunkeld in Pertshire. This work was an echo of his travels throughout Great Britain.In addition, Roberts-Jones was also very popular for his barn interiors with cows (Triennial Salons of 1842, 1843 and 1844). A lithographic reproduction of a stable scene by Roberts-Jones was included in the art magazine La Renaissance from 1841-1842.Roberts-Jones regularly collaborated with the landscape painter Kuytenbrouwer. The painting "Cattle on the Meadow", which was on display in the Salon of 1852, was such a joint work: Kuytenbrouwer executed the landscape and Roberts-Jones then upholstered it with cattle. In 1845 he won silver at the Brussels Salon. There was also a collaboration with Louis Gallait. Roberts-Jones never received greater honors.Daniel-Adolphe Roberts-Jones was also very popular in his time as a portraitist of horses. In 1866 he portrayed Nano, the beloved horse of Queen Maria-Hendrika.Roberts-Jones was a member of the Association Nationale pour favoriser les Arts en Belgique.